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NATURE + DIGITAL FIBROUS SCREEN + THIRD VOID FACADE PROJECTION + SWARMING LIGHTS THREE MODES OF EXPERIENCE PROGRAM by Howard Jiho Kim, Tony Yam |
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 Special Selection for the Emerging New York Architects International Ideas
The Fibrous Art Bridge envisions to turn the High Bridge into an art complex that can house exhibitions displaying the entire process of art production-from its inception to its final form. Anyone can appreciate the glistening display of a finished art piece but it is a rare encounter to come face to face with the struggling moments of an artists' hands when the sculpture was just barely beginning to take form. It will be a highly inspiring moment for the audience who have been invited to appreciate the full stages of the artists' touch through the crossing of this bridge. On this bridge, the process of making art, therefore, becomes an act of art in itself. This art is then displayed to the public. The way in which we experience art will transform completely, for the audience will soon throw away the old habits (of glancing at a single art piece and proceeding to skim a paragraph of description written next to it) but rather learn new ways to engage in art, by sharing the profound understanding experienced by the artists in their moments of creation. The local neighbors who cross the bridge on a regular basis can witness this very art of creating, and perhaps the excitement of participating in such an event will spark dialogues between both the fellow bystanders and the very artists- which is a greatly beneficial activity for the community as well as for the artist society. Through these regular interactions and conversations and full participation in the creative activities, the bridge will seek to draw people together in hopes of physically and culturally reconnnecting Manhattan and Bronx. This rather untraditional way of experiencing art is spatially achieved through the art pods. The artists work inside pods that are floating and visible through the permeable fibrous structures, which allow the viewers to get a view of the aritsts' ongoing works from both below and above. Once an artist is finished with the work, the pod is opened to the public so that they can enter it and interact more closely with the final production. After the public viewing is over, the pod can be removed from the structure and placed elsewhere in the city. Other artists can start their work in the available empty pods. The pods can be made in various sizes and shapes, meeting the specifications to best fit the project it is housing. Attached to each pod is a viewing port, embedded into the floors and sticking out towards the bridge gallery and hovering over the walking surface. These ports are more visible from the main pathway and the artists can therefore select parts of the process that they desire to be more exposed to the public. This design, proposing an exhibtion of the evolving processes of art production, is highly symbolic of the evolution of the bridge in itself. The High Bridge was first built as an aqueduct using mansory arches in 1848. Such structural system to carry water best fit the time, since the tunneling technologies were not as advanced. The bridge continued to evolve structually; in the 1920s, several of the arches were replaced to allow for larger ships to pass. The newly added steel structures were also best fitting for that time-this addition of modern technology allowed bridges to be thinner, stronger and more porous. And now, as the bridge is being considered to be reopened as an art complex, what better transformation can the bridge take then to continue this trend of reforming structure by introducing to the public the next new technology? Rather then obstructing the advancing nature of the bridge by labeling it as an old artifact of the past, the bridge needs to preserve its legacy by continuing its adaption to the newer needs of current times. Under this design, the bridge becomes a museum in itself- a museum of structures, living on its destined fate to showcase how structural logics have continually evolved and benefited history. by Howard Jiho Kim |
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 |  Shorlisted for the Yongsan Park Ideas Competition
Seoul is a flourishing forest. Wherever you go, you are surrounded by trunks of tall buildings. It is easy to forget in this rapidly growing city that just sixty years ago, the city of Seoul had been a barren land, struggling with the aftermath of a painful war. Miraculously, it took Korea just half a century to rank thirteenth in the world for its economic power. This achievement is noticeable for Korea had literally started from scratch and the rapid pace of the development is unequaled in history. To speed up the process of economic reform and development, Korea has mass-produced and standardized products needed for the resurgence. Commonly referred to as the 'Miracle on the Han River,' this fast-paced industrialization and modernization was the most profitable and efficient way to fuel Korea's economic phenomenon. Consequently, Seoul has been swamped with uniformly structured buildings. The long stretch of apartment complexes, shopping streets, 'hagwons (Korean academies)' karaoke rooms and internet cafes provide familiar yet mundane street scenery here in Seoul. The basic idea behind how a TV works is explained by the activating pixels. These seemingly infinite numbers of individual dots alternate themselves following certain rules and regulations and our brain proceeds to reassemble the dots into a meaningful image. If the pixels remain fixed in one spot without divergence, then it is nothing more significant than a TV that is turned off. In turn, if the pixels rotate in rapidity but without any organization or pattern, it resembles nothing more than a broken TV. It is only when the pixels unite in swift efficiency in relation to one another yet without losing diversity, it is only then the TV gains the mastery to convey its story. The streets of Seoul echoes the pixels lost in translation and variance. It is a copy-pasted forestry of buildings brought on by the economic boom centered on rapid development. At this critical historical moment when the U.S. base in Korea has decided to transfer its location, Korea should seek for its new outlook in the remarkable individuality in TV, which has successfully placed Korea number one in the electronics market. We dare to dream of Seoul in the near future housing a pixilated forest in Yongsan, a forest of buildings bearing an organized harmony within its uniqueness and unconformity. by Howard Jiho Kim, Mijung Shin |
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Architectural Objectives The thematic pavilion of the international exhibition aspires to be an iconic element located on the Yeousu port. It will be iconic not only because it is going to be the main pavilion of the exposition, but also because it will represent the major theme and the aim of this event: the oceans. The site has been purposely proposed to be situated at an axis that symbolizes a transition between the mountain, the city, the coast and the water, all of which serves to condition the character of the building. Therefore the thematic pavilion has a focus for the people to experience and understand this liquid element through the specific place in which it is located: the ocean. In order to represent water through architecture, the dynamic and translucent qualities of the fluid are translated into details of the pavilion. The pavilion is not bound to a solid state. It is always in action materializing both dynamicity and the varying layers of transparency. The visitor will be guided directly into a zone of coexisting space of ocean and architecture. Approach and Concept The design of the building comprises of interconnected circles that respond to a program. The shape of the building represents a diagram of the two connected water molecules. This shape is also representative of the interconnectedness of the two big exhibition spaces and the smaller adjoining areas. The seemingly apparent random layout of these separate yet connected "atoms" is determined by the three main lines that connect the pavilion with the rest of the facilities in the exhibition master plan: the Main expo site axis, the Big O and the Expo Loop. These six circular spaces placed on the water are wrapped by a versatile skin. The skin is made by two layers with a series of horizontal louvers that give a varying transparent quality to the building. The outer skin translates the energy of the ocean to move itself vertically up and down. It creates a dynamic atmosphere that is always in motion as the waves and tides. The moving louvers create a fuzzy image on the outside and also create interesting lighting effects inside through the moire effect. The inner louvers are fixed on to the glass of the pavilion, whereas the outer louvers are floating on water, becoming a unique element that moves and changes with no energy consumption. The superimposition of these two osmotic layers give an intriguing image of the breathing building, making the water nature alive for the public to experience. Green areas introducing various plantlife have also been included in the scheme. A roof garden will be constructed and the visitors will be able to enjoy a sub aquatic wetland, which will be linked to lounge areas. Green areas have been also introduced on the scheme providing a roof garden than visitors can enjoy and a sub aquatic wetland linked to the lounge areas. General Circulation Fluidity is the main focus of the interior circulation. It will guarantee a variety of different ranges of the exhibition tours for the public, as well as enabling private access for staff. The big, circular pavilions are reserved for the exhibition areas and the adjoining small circular areas will house restrooms, lounges, cafes and other facilities. Exhibitions can take place independently since it will be linked to the existing breakwater. That makes the circulation versatile depending on which areas are opened to the public. Visitors can still have access to the rest of the building even if sections of the pavilion are closed. The pavilion will have different levels for each sections of the building: exhibition areas are 12m high, whereas adjoining spaces are 8m high. Ring corridors accessible from ramps and stairs are located at a mid-height of the main exhibition areas, located 6m above the floor, offering a 360 degree-view of the ocean on one side and a view of the main exhibition on the other. The main access, connected to the Big O, is the entrance of the Theme exhibition area and it is preceded by a waiting hall situated in one of the small circular pavilions, from which there is a private access to the administration area located in the upper level. The two small circular pavilions will be referred to as Theme exhibition sites: one of them is a lounge area overlooking the ocean and the other one is the connecting point to the second exposition area. Exhibition The space inside the big circular pavilions is recognized as a multipurpose container able to house all kind of exhibitions and installations. The circulation existing outside the perimeter of the pavilion, the central structural system, and the freedom to roam around, all define a spacious column-free area. The major part of the exhibition space is three stories high, and the generous space allows room for large artworks and installations. The exhibition space allows flexibility in space division for different exhibitions, even if it requires different areas and volumes of space. Lighting control systems are implemented in the internal exhibition area to allow for a greater control over space illumination, which responds to the amount of light entering through the moving skin. The natural light can also be completely blocked to allow for a controlled-artificial lighting system if necessary. Lounge and Resting Areas Lounges are places to rest and experience the view of the ocean from the building. The small circular pavilions, where the lounge areas are situated, can be accessed from the entry level. Restrooms and sitting areas are provided as well as specific furniture and entertainment for every visitor. Unlike the exhibition spaces, the lounge areas are well illuminated areas. A patio provides zenithal light and it visually connects the space with the sub aquatic garden below, which also acts as part of the rest/leisure area. by Luis Manso, James Matsuku, Jiwon Hur, Howard Jiho Kim, Tony Yam (with AQSO) |
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 Finalist for the Tsim Sha Tsui Piazza Competition
Hong Kong displays a diverse, modern metropolis steeped in a unique blend of eastern and western traditions. Hong Kong is a vibrant city, being densely populated and encompassing an extraordinary mix of historical, cultural, and economically diverse urban environment. We propose a design for an iconic piazza, representing the mixed quality of this urban fabric. Our concept is based in the idea of weaving. Weaving is often seen as a textile art but it essentially is a way of organizing different strips of social quality- an interweaving of many smaller elements to complete a complex whole. Analysis of the existing environment revealed complex urban characteristics as well as inherent cultural behavior. Hong Kong has lost many of its historical importance following a rapid economical development. The clock tower, for example, is the only remaining architecture dwelling recognized as a historical landmark. In contrast, commercial development has been rapidly growing. There has also been much development in art and culture sites such as the Hong Kong cultural center. This iconic plaza weaves such existing urban patterns into a landmark for tourists as well as locals to enjoy. This urban mesh emerges from its own distinctive characteristics of the site and creates a new meaning within variance. By extending the existing urban patterns of commercial and cultural lines, the iconic piazza will organize the variegated site into a new woven meshwork. It will create a "free-form" amphitheater by articulating different levels of triangulated surfaces. Careful designing of ramps, stairs, and sloped surfaces will ensure proper circulation and landscaping function of this amphitheater. The idea behind the amphitheater is to bring people together for a celebration or a special public event. This piazza precisely defines two large open spaces for multi-functional purposes. People can freely access different elevation levels of the amphitheater and enjoy the surrounding urban activities. By emphasizing the significant historical aspects, the piazza generates a walking path to connect the amphitheater to the five flag-posts on the other side. The decommissioned train compartment located at the underground walking path creates a museum-like experience for tourists. Functional requirements of the piazza such as public restroom facilities, newspaper stalls, souvenir stalls and telephone facilities will be provided at the other side of the amphitheater. The main open space blend water fountain features and floor light fixtures to create a fun open playground ideal for a hot climate in summer. The rest of the open space can be used with flexibility to accommodate various exhibitions, outdoor carnivals, alfresco dining, mini concerts, etc. The iconic piazza will become a place for people to gather; located at the center of community life within an urban city. It will be an area for social gathering for anyone who is looking for a more enjoyable and relaxed life within this hyper dense urban environment. by Howard Jiho Kim, Greg So, Tony Yam |
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by Howard Jiho Kim, Xiaolong Rui, Tony Yam |
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 Shortlisted for the Noise Barrier Competition
by Ted Chan, Greg So, Tony Yam |
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by Joao Albuquerque, Jakob Henke |
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This is a proposal for a skyscraper that perhaps will emerge in the near future, which will surface without the contribution of human effort. Although it will be the unintended side effect of technological progress, it can ultimately be considered as a result of human activity. It is a skyscraper nested by birds, built out of man-made materials including cars, missiles, buses and tanks and other detritus of the human population. Our materialist and capitalist society tells us that if it is economical and convenient enough, then it is permissible to destroy nature and wipe out natural habitats. Will nature's environmental refugees continue to face extinction, or, as this structure proposes, will they innovate in their adaptation to survive in this world that is changing faster than ever? Birds are known to be incredibly capable of adapting to adverse environments. They have continued to evolve in human habitats (or habitats that men have taken over) and have become stronger. Bower birds recognize plastic and metal scraps and decorate their nests with bottle caps, straws and other trash thrown away by people. Many species have adapted their wings to maneuver between tall skyscrapers and they have become comfortable dwelling within human-made architectural spaces. They are becoming like us. Male Lyre birds imitate the sounds of their environment in order to attract a mate, even if those sounds include man-made noises such as sounds of camera shutters, car alarms, or the high-powered chain saws of foresters intent on destroying their habitat of trees. What next? If they learn to flock in bigger colonies and learn to use heavier materials for building their nests, being the excellent architects they already are, what could limit them? To imagine birds building skyscrapers out of humanity's disposable culture seems laughable. But history is full of ideas and inventions that sounded ridiculous at the moment. Who would have imagined thousands of years ago, when people used to live in huts built of mud and straw, that one day, there would be towering skyscrapers filling the sky? Just as mankind started constructing taller buildings to accommodate the growing population and crowded living conditions, birds, the master builders, will soon need to implement a new typology of nesting as their survival mechanism. As they are losing surface area, birds will need to start extending vertically to accommodate for higher population density. In fact, it is their very anatomic design which defies gravity, that allows them to reside in vertical structures better than human beings, who were designed to circulate merely on two dimensions. The evolved skyscraping nests will emerge in a few selective areas which birds still recognize as their habitats. An ideal place for the avicular colonies to build their first structures would be the demilitarized zones, where wildlife is unintentionally reserved. There is a long stretch of this DMZ in Korea, the Korean Demilitarized Zone, separating the Korean peninsula in halves. Humans have not entered this land for half a century. Unlike the other places in the world, more and more non-human species thrive in the DMZ. It is ironic to see how animals have found their own little Eden in between the war zones. The avicular colony will build an ineffably grand skyscraper and it will be created with piles upon piles of men's failed dreams and broken hopes in preserving this earth. by Junghoon Han, Howard Jiho Kim |
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PREMISE PROPOSAL by Joao Albuquerque, Howard Jiho Kim, Xiaolong Rui, Tony Yam, Guodong Yin |
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A bus terminal is a part of the network that webs various places together while people travel. A bus is where people watch the scenery pass them by while efficiently traveling to destinations. As designers, we find the design of the bus fascinating. There is a dynamic tension between speed and space, for it is best for the buses to be parked for the people to get on safely, but it's best for the people to sit down in order for the bus to start moving. Window seats are harder to access but allow the passengers a nice view. On the contrary, the aisle seats are easy to get to, but a complete view of the outside scenery is not always guaranteed. We want to be rid of these conflicting tensions and combine the advantages. Is there a way to effectively fuse the highest experiences and benefits of traveling on the bus for the greatest trip? Our design concept of the Trancoso bus terminal was born from these ponderings. Our design proposes a bus terminal which will accommodate the basic needs and desires of the public, offering both convenience and a lasting experience. The terminal enables people to roam freely, while allowing them to sit and watch the buses move by. The terminal also offers an unlimited view of the outside. The bus terminal will become a flourishing public space. To attract a crowd, the roof terrace is designed to be a large open space looking out towards the castle, connecting to the cafe. These public spaces are a continuation of the sidewalk, allowing easy circulation throughout the building, making it an integrated space within the interconnected city's activities. The bus terminal will be the center of Trancoso's busy life, blending with the historical surroundings despite its irregularly shaped design. Ticket offices, waiting rooms or boarding decks will be on the ground floor, oriented towards the castle for a delightful view. On the upper level, a south-facing public open space boasting a view into an existing vale will serve as a free space as well as a cafeteria. Although we have separated the floors according to distinct functions, there is still the possibility of connecting them if necessary. To reflect the external design which stresses connectivity, the terminal is also internally connected, allowing the building to work as a whole, linking the ticket areas, entrance and waiting room directly with the cafeteria. Overall, the bus terminal will be a place offering convenient travel and a great view while blending in as an extension of the public space. It will even amuse the pedestrians and passers-by when they realize that they will be able to walk through the architecture and gain a unique experience of the city. by Joao Albuquerque, Howard Jiho Kim, Tony Yam, Guodong Yin |
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